Understanding Smoke On The Water
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- เผยแพร่เมื่อ 10 ส.ค. 2023
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Rock is full of incredible riffs, but if you had to pick the most iconic, most instantly recognizable riff in the history of the genre... I mean, it's gotta be Smoke On The Water, right? That one four-note blues line established Deep Purple as rock legends, and even as pioneers in the developing world of metal, part of the "Unholy Trinity" with fellow hard rock acts Black Sabbath and Led Zeppelin. But how did it all happen?
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Some additional thoughts/corrections:
1) Apologies for the long delay between the last video and this one. I had some family stuff that required my attention.
2) Yes, I know the logo in the thumbnail wasn't the one they were using in the early '70s, but in my defense the one they were using in the early '70s was just their name in a weird font, and that doesn't look good in thumbnails. It was used during the first Mark II reunion, so I'm calling it close enough.
3) Most of my account of the Montreux fire is drawn from this post by the European Society of Fire Prevention Engineers: www.sfpe.org/publications/periodicals/sfpeeuropedigital/sfpeeurope25/europeissue25feature5 Because it seemed like the source most likely to have avoided adopting additional folklore elements. The one place where I differed was on the bamboo ceiling decoration: The SFPE casts doubt there, due to some photographs of the stage that don't appear to show such decoration, but multiple direct witness reports do mention them, so I decided to include it. It's possible the SFPE is correct, though, and stories of bamboo decorations were added after the fact.
4) I will note that, while I do find the Beethoven explanation unconvincing, Jon Lord specifically was a pretty big classical guy, and although Blackmore leaned much more toward blues (which was one of the main conflicts in the band) it makes sense that he'd be thinking about classical stuff given who he was working with. I don't mean to imply that he _couldn't_ have been inspired by Beethoven, just that there's no evidence he would have needed to, given his blues background, and "he made it up as a joke" seems like a pretty solid explanation for why he told the interviewer that.
5) I'd like to thank Ethan Hein for bringing the Maria Moita connection to my attention. It happened pretty late in the video production process so I didn't have time to really dig in and figure out just how popular that particular song would have been in the UK at the time, and thus how likely it was that Blackmore had heard it, but… yeah, if it's a coincidence it's a pretty striking one. On the other hand, it doesn't seem to be a super well-known song, and as I demonstrated, it's easy to construct this riff from the blues scale and some basic principles of phrase structure, so it's certainly not impossible that Blackmore did just happen to have the same idea. However, it's also not the only time Blackmore's been accused of plagiarizing riffs, so I dunno, do what you want with that. (Although, if you asked me to bet, I'd say he probably heard Maria Moita. Occam's razor and whatnot, y'know?)
6) On that topic, here's a good video that goes into more detail about the question of Maria Moita: th-cam.com/video/9OnIRrrj-mY/w-d-xo.html It's in Portuguese, but it has English subtitles available.
7) Despite drawing one, I'm not actually sure Lord's distortion came from a separate effect pedal. I suspect it was just in-amp distortion, but that's harder to draw and I didn't feel like the distinction mattered.
8) I missed an open hi-hat in bar 2 of the hi-hats-only drum layer. Whoops!
9) Similarly, I mistranscribed the walk-up at the start of Glover's intro part. the first three notes should be E-F-F#, not F-F#-G, I just typed it wrong in Musescore and didn't think to double-check it while filming. (Same with Glover's end fill in the verse.)
10) As evidence that Lord would play the first verse differently if he did another take, consider the fact that he did basically get two more takes of it in the other two verses of the song, and he did play those pretty differently.
11) Oh! Also, while, I'm correcting things, I think some of the Cs I notated in the Lake Geneva line might have been Dbs. They're sort of in between, honestly, and I think I defaulted to thinking in minor pentatonic, but they've definitely got some of that bluesy tritone thing going on.
12) I was torn on the explanation for the E in the chorus. On the one hand, "It's a blues thing" is not a particularly in-depth explanation, but on the other I didn't want to pretend it was particularly unusual in that stylistic context. It's an important part of the song's sound so I wanted to highlight it, but it also felt important to stress that it was borrowing from a known tradition, rather than serving as a unique innovation by Gillan or Deep Purple.
13) Melodyne really struggled with that D major voicing. Definitely still some F naturals somewhere in that chord. (It's built by transposing the C minor part from the previous bar. I tried making it out of the Ab voicing but it sounded so much worse.)
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I had no idea how ENORMOUS that organ sound is on the chorus (assuming it was a guitar). Absolutely killer.
give the Machine Head a good listen in headphones. keys and guitar are panned opposite and are often trading with Lord winding up Blackmore and vice versa.
Lord's Deep Purple sound was simply monstrous - a true beast of sound. I've always wondered why more bands didn't use organs as "second" guitars.
@@bryanedwards5064 it's cool to notice that Deep Purple's "offspring bands" such as Whitesnake and Rainbow maintain the organ as an important part of the lineup.
@@bryanedwards5064 Probably because they were huge and heavy and unreliable and expensive, so everybody dropped them in favor for synthesizers once the Minimoog hit the market. But you can hear electric organs on many rock records from the late 60es and early 70es, like Uriah Heep's "Salisbury", or on "In-a-gadda-da-vida" (although that one could really have used a good Hammond organ instead of the dinky, tinny thing they actually used).
5:14 "This correction is pedantic and unnecessary, but I'll get yelled at if I don't include it." I think you just perfectly summed up fandom culture in the social media age in one sentence lmao
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Social media doesn't have anything to do with this this time lol. Also, I was listening to this without watching and still knew exactly what point this comment was referencing! Fan culture has always been really funny.
@@internetphia Lol I am aware that fandom culture's always been like that, I feel it's just been more ever present in the last 10 years or so now that everyone is connected over the internet at all times using a thin plastic brick you keep in your pocket.
So true😄
the most logical explanation he is hiding is the fact that it's plagiarized from Maria Moita (Carlos Lyra), bossa nova song from the sixties.
and a thousand guitar center workers cried out in agony.
the bass part is the unsung hero of this track!
It took me a long time to really master the bass part. And every damn time I listen to them play it live I hear something cool .... a forever learning
About a decade or so ago, our band decided to play this on a lark. Then we did a deep dive of it and discovered what an interesting and well-structured song it really is. You pulled even more fine details than we did, awesome analysis. Bravo! 👍
I bet the rythm guitarist was having a blast while the lead (solo) and the bassist were crying internally lol
I'm appreciate you coming clean to us about deciding not to do sponsorship anymore. Your honesty was touching. I can't afford to support you on Patreon, but I'll be here to watch and like your videos whenever I can.
As a kid in the '70's, I heard Smoke on the Water a lot (and learned the iconic riff on our Farfisa organ), but of course I hadn't the foggiest idea what the song was about. Given the heavy sound and apocalyptic lyrics of the chorus, I vaguely assumed it was something about the horrors of war. I was amused when, decades later, I realized it was fundamentally about trying to record an album under difficult circumstances.
War < Trying to record an album under difficult circumstances
Same, i thought it was another Vietnam protest song
But that's the great thing about text interpretation: the author's intent is just one facet, and what anyone can read in it (and actually base on the text) is equally valid and maybe even a more approachable way of understanding it.
I love that you have to remind people just what the riff to Smoke on the Water sounds like 🤣
Love the love for Roger Glover here. He's absurdly good at doing exactly what the song needs, a skill that's way less flashy than those of his other bandmates which makes it so that he's very underrated (both by fans and by himself). Man's a genius
One of my favorite things online is a video of a live performance of this song by a traditional Japanese band, I'm not sure what specific style it is. The opening riff on i think a shamisen, the audience recognizing it immediately and laughing, and then the whole group just goes harder than they have any right to, the vocals in multilayered harmony where its a bunch of shouting men knealt on the floor, it's astounding. I saw it on LiveLeak but i think there's some badly pirated copies on TH-cam.
th-cam.com/video/x-GLzEscCX4/w-d-xo.html
Is this the performance you are talking about? It's very good, but it makes me wonder how the Wagakki Band would sound if they cover it.
th-cam.com/video/x-GLzEscCX4/w-d-xo.html
That was excellent. Thank you.
I NEED the software used to separate the audio tracks here! The vocals were so clean, especially.
The multitracks have been made available though Rock Band and/or Guitar Hero.
I took years of piano lessons before I ever picked up the guitar… yet I never sat and listened to this song, solely focusing on the organ, until I watched this video. Thanks for clueing me in!!
First song I ever learned on guitar as a kid. I felt like a GOD. I couldn't believe this sound was coming from my hands.
Same
People never believe me when I say this riff isn't picked. Spread the word, people.
I don’t play it with my fingers, I use a pic. A pick gives a better attack on the strings.
@@johnjohnson3709doesn’t give it that snap tho
@@johnjohnson3709 Sucks to suck, I guess.
Are they at least upstrokes?
@@Tunkkis No, I do not. I’m not Billy Gibbons!!
Possibly because you’re wrong: it *is* picked. In guitar terminology, “picked” doesn’t usually mean played with a pick, it means played with the fingers (short for fingerpicked), which the riff if.
I really liked that era of Purple. For a long time, Smoke on the Water was my favourite song.
Jon Lord really was one of a kind. There's nobody else who owned the rock organ as much as he did, and his tone is always so dirty and powerful.
I turned, turned back, saw Garnet, then reminded and saw you draw her to illustrate "combined" and my heart swelled a bit
I love these videos so much. Can you please do one for “I Write Sins Not Tragedies?” I want to understand what makes that song so catchy and memorable.
I chime in, with a "please would you consider doing that"
I know this is supposed to be Blackmore's masterpiece, but this really drives home how good Jon Lord really was.
I think you meant Carlos Lyra, the melody's creator.
14:26 "That's an E. He's singing an E"
SMB: Perfection.
That is the most impressive breakdown of this song I've ever heard!!!
I love to see someone who appreciates all the fine details of this song like I do!
The very first thing I thought was "I want him to draw a Zappa mustache!"
Drawing an amogus for sus chords is totally legit but also feels surreal for some reason xD
Absolutely love and appreciate your analysis of the guitar tone!
Could you do an analysis of Kashmir by Led Zeppelin?
One of my favourite bits of this song is the end of the last verse: "No matter what we get out of this / I know we'll never forget".
Classic jazz trick to to use a walking bass and groovy drums during the instrumental solo.
Classic Purple to steal from the best.
Great comment and there is a lot of jazz and classical in the background of Paice, Lord and Blackmore. There is blues, of course, but I think it is the jazz and classical that makes them different to Led Zeppelin, where blues is more prominent (although JPJ in particular had other influences as well).
Something I've learned talking to both professional and amateur guitarists about this song and from having played it briefly in a cover band myself (on drums), despite being nearly synonymous with the guitar, Smoke on the Water is a more interesting song to perform on every other instrument lol
The bass has such oomph and gives it so much power and groove. The drums are just so well played with incredible dynamics and sense of time. The keyboard is just plain weird. I'd argue the vocal line is one of the less interesting of Ian Gillan's performances on that album but its still got some of his good ole rock power to it. Dont get me wrong, Blackmore is an absolute GOAT of rock and metal guitar and his guitar work across the album and era is amazing, and that solo is just genuinely scorching every time I hear it, but I think the biggest reason Smoke caught on among guitarists because it's punchy and yet approachable.
You should do a video on "The End" by The Doors. I think it's an absolutely amazing song which is very underrated.
An excellent analysis, definitely gave me new insight into the song
I haven’t listened to song much since high school, and even then it fell out of my regular rotation as I found more stuff but coming back to this song in my 20s I can appreciate it a lot more with all the musical knowledge I’ve gained since then
I know you probably get like millions of suggestions so this will probably be glossed over completely but it would be amazing if you covered Knights of Cydonia by Muse. It’s such a unique song and it has so many different parts and instruments that I think it would make a entertaining and fulfilling video!
Yes! Knights of Cydonia is brilliant, and its episodic nature would make a great 12-tone video.
The simple melodic outline of the riff may be why people remember this song, but the many layers of the arrangement are why we love it.
What a fantastic clip.
Your channel is fantastic.
Thank you for adding these extra details from this classic
Excellent content as usual, thxs for sharing 🐍
The lead solo is one of the greatest in rock history, overshadowed by the iconic riff.
I'm only 5 minutes into this video, but already I'm loving so many of the drawings. The recreation of the "Who's Next" cover, the drawing of the Silence, and one of my favorite references, the drawing of Aphrodite's symbol from Hades to represent weakness
This is the type of song that might seem uninteresting because we've all heard it so many times, but there is a very good reason why it's still fun to listen to after decades.
My response to any naysayers is "Have you heard Deep Purple play it?!" Like sure, have your laughs...but those of us that know, KNOW! Blackmore's solo on it always gives me chills.
Dude you are so damn good to watch!
“That’s a G. Now play that … GGGGGG” I’ve seen School of Rock 12Tone. It helped understand this.
Thanks for explaining this! I was always wondering if they were talking about Lake Geneva, WI!
Great analysis: amazing what you hear when you got the Ears an Understandin - oh to be so gifted.
This is a great analysis!
Great video!
This is great. Thank you! It's the first time I heard of the Bossa Nova being the possible source/origin/inspiration for that ultra famous riff. The resemblance is indeed uncanny😅. Love your drawings❤! Excellent illustrations to your explanations. This video once again shows me what value lies in knowing and mastering music theory. I admire people who can do it, for me personally that sphere is unfortunately locked and not accessible 😞. Nevertheless it's fascinating. That's why I like videos like yours and e.g. Rick Beato's.
The "square" sounding simpler version of the riff outlined around 5:55 sounds like another hard rock/metal/hair band song I remember from the '80s but I can't put my finger on it.
Damn near every famous riff Blackmore played - this, "Man on the Silver Mountain," "Kill the King" - is parallel fourths. The man hates power chords.
...he litereally is playing power chords though.
The song is in Gm.
The first chord is made of the notes G and D. That's a power chord, just an inverted one.
Second chord is a Bb, the minor third in the key of Gm; it's made of the notes Bb and F: again, an inverted power chord.
The entire main riff is power chords.
The verse is power chords.
The chorus is power chords.
On guitar, apart from the solo, this song is nothing but power chords.
@@nuberifficyou're right but that's so much nitpicking it reminds me of that moment in the video where he says "it's a pedantic and unnecessary correction but people will kill me if I don't". Yes, power chords, inverted fifths and stacked chords are all the same thing, but they're played and used different so guitar players call them different names.
@@rizzo_grt but they're not played and used differently.
Yes, the finger positions are different, but that doesn't make them different chords.
Just different voicings.
If that were true then that would be like saying that bar chords aren't major chords because they're played differently.
And every guitarist I've ever met calls the inverted power chord a power chord.
No one, except 12 tone and you apparently, calls them "parallel fourths"
Is an F major chord on a ukulele not actually a major chord because it's an inversion of one?
At around 3:20, you talk about them playing the notes on frets instead of using the open strings. This is kind of like how violinists, violists, cellists, et alia, almost never play on open strings. Open strings just sound wrong. They ring out like an echo, which is so different from how every other note sounds that you just can't use an open string. I'm not sure that the same is true for guitar, although I wouldn't be surprised if open strings are less common than one might assume. The reason is that guitars have frets, and the frets are supposed to make every note ring out like an open string. Having said that, which string a note is played on will still make some difference, just due to the weight of the string. It makes you wonder if he learned to play a non-fretted stringed instrument first and just kept by the no-open-string rule when he switched to guitar.
Fretted notes on guitars sound different from open strings because fretting has a damping effect.
So, the nut on a guitar is typically a plastic, or sometimes bone, and the frets are steel. Also, when the note is fretted, the string is effectively shortened, which makes the sound a bit darker. So open strings will be considerably brighter and more “twangy” than fretted notes. Sometimes it’s desirable, and lots of guitarists (especially in country and bluegrass) use open strings more often, specifically to get that sound.
Amazing! I had never realized how complex this song was.
I think the real kicker of this riff is that the second and fourth phrases start an 8th note early but they don't "feel" like they do. The "borrowed" 8th note by the second bar for instance is payed back with the extra Bb note in phrase two leading to the start of the third phrase in bar 3 hitting straight on the one. Just listening to it it all seems in order but actually it isn't but you can't really tell unless you actually count it out. The rhythmic complexity is hidden.
I call this the "Solsbury Hill/Mission Impossible effect". Solsbury Hill is in 7/4 but it doesn't sound like it is because the kick drum pattern is six quarter notes followed by two 8th notes. To the brain this sound like 8 kicks per two bar phrase, all present and correct, so it feels like straight up two bars of 4/4 per vocal line. But the vocal line and accompanying string riff gets that sense of urgency and forward momentum from this "lost" quarter note without sounding like there's anything "weird" going on. Mission Impossible riff does a similar thing by using two dotted and two straight quarter notes per bar for each 5/4 bar. "Nothing weird about this, mate, just four quarter notes per bar innit".
I wish I could write a riff in an odd time signature/syncopation that didn't sound like it. Then I'd be rich and famous too 🤪
I once heard a band screw up Solsbury Hill by playing it in 8... Ooof... It still haunts my nightmares!
great video!
According to contemporary news accounts in Swiss newspapers, the fire was started when a Czech refugee of the Prague Spring named Zdenek Spicka shot a "pistolet d'alarme," a gun that only fires blanks, at the ceiling. I can totally understand why Deep Purple might remember it as a flare gun, especially if the only local news stories about the incident were in French.
I worked at my local music shop for 4 years, and even more so than just hearing the riff, I can’t believe how many customers would try and retell the Montreux Casino story. The song would play on the radio, and people would tell me the story as if they knew some amazing unknown information. “Literally ‘some stupid with a flare gun’ burned the place down!”. It’s like, “yeah dude everyone kinda knows that already!”. I’ll take hearing the riff any day than one more retelling of the story.
how do you isolate these instruments so well and clean? it's amazing
Men please answer me i have a very important question ! Where can i get this music paper you are using ?????? Please :))) !
06:00 holy wtf.
That's the Trigun riff when the title appears in the opening !!
Why didn't I ever realized that.
I’ve seen video of Blackmore playing it with the open strings as well, but usually on the lower strings
Hey, can/will you make a video on bittersweet symphony pleaaaase? 👀
Oh man that would be an awesome dive
@@MarkBonneaux I know, right? To be honest, I thought he already did the analysis, that's why I had the idea
Absolute classic
TH-cam recommended this to me - my first view of any of your postings. Very interesting, I've subscribed.
Just curious - most of your "doodles" make sense but at 7:43 I had to really think about the almost empty tube of toothpase and ". . . seems worth mentioning." L O L
And at 22:22 ". . . these videos take a really long time to make." much appreciated. I may have to "unretire" and become a patrion.
wow, a song I know for years suddenly shows his secrets. thank you
In Blackmore’s guest column in guitar world years ago he said that on the record he played the main riff on the D & G strings.
He also demonstrates it that way in the classic albums documentary (though on acoustic, & thumb plucking low Gs in between the chords).
Though, yeah, most of the time he frets them live… except for when he’s doing the “playing with your fretting hand upside down” thing he likes to do… then it’s usually back to the middle strings
4:00.....Usually muted notes on the guitar are done with the palm of the picking hand, not the fretting hand. Of course there are instances of both, and fretting hand do mute unneeded strings sometimes. But pick hand palm mutes are a big part of rock guitar.
He mean that staccato effect when you play with fingers
i've never clicked on a video so fast. Great job!
Great analysis👍 I'm sure Ritchie played the riff 55-33-55 starting on the A and D strings. Interesting to note though if you look at the 8mm cine film of Blackmore playing the riff in the intro during the live Made In Japan concerts, he starts the riff on the E and A strings so the tab would be 1010-88-1010. Same key as the record just a different tone.
Hi man, A question from your big fan: Is there a musical term called [Ledger space] related to ledger line in the music theory? Thank you!
You should totally cover GO by pearl jam! it's one of my all-time favorites. Love the videos you put out!
The Rolling Stones Mobile Recording Truck wasn't just accidentaly "standing outside" in Montreux. It had to be driven-over from somewhere in France. Deep Purple didn't "find the Grand Hotel" to record at; it was Claude Nobs ("Funky Claude" in the song) that found the property. Nobs was responsible for tourism in Montreux at the time and later became the organiser of the "Montreux Jazz Festival". About the truck having to stay "outside", this means outside the Grand Hotel's perimeter since the truck didn't fit through the gates accessing the Grand Hotel's territory.
I play it using the 3rd,4th and 5th strings which the 5th string gives me enough bass to dig in. I never do power chords. And I use a pick to play it.
The concept of "intermodulation" is very important for heavy metal bands that want to use chords that are lower than the tuning they're currently in. Bands like Slayer, Sylosis, I AM, Gojira, and Entombed often play parallel fifths on the bottom strings to create the illusion of downtuned chords that would otherwise need another low string to actually play.
4:44 "... and I think it sounds a lot weaker"
as Cory draws thE APHRODITE SYMBOL FROM HADES??
my favorite arm on TH-cam
I always heard this riff more like Beethoven's 5th than like blues, though never heard Blackmore's apology. Thank you!
There is a great swing version by Robyn Adele Anderson that totally follows the bossa nova version ...
The whole actually it's an organ feels like "jigglypuff as seen from above"
Every note can be a root note because root notes are the foundational notes for a chord. The first note in a scale is the called the Tonic. Both scales and chords are built from intervals. When you see a number in a chord symbol, it represents a chord degree, not scale degree. CMaj7 and FMaj7 both reside in the same key but the "7" does not refer to B in both instances, only in CMaj7. In FMaj7, the 7 is E because, as I stated earlier, chords are built from intervals, not scales. Scale degrees have a special notation like 1̂ 2̂ 3̂. The caret on top is also called a circumflex.
Would love to see you cover 'I believe in a thing called love' by The Darkness
I am just starting to learn music, this is so complicated, I wish I'd be able to understand it someday
Should do Highway Star
Thank you.
17:20, Lord's part is Dream Theater's John Myung's bass intro to As I Am.
Or you know, the other way around, I know.
Oh god, I've been playing a much harder version of the bassline for no good reason. Instead of octaves, I was doing power chord arpeggios, that gets painful after a while.
Yeah I remember seeing somewhere tab it out as power chording the basic line during the verse, but the song is so much easier on my hands when skipping one less string by just jumping octaves lol
Ritchie Blackmore!
IDK if you'll see this but this is the latest video but here goes... i opened YT and went to your channel looking for Echo beach breakdown,.. sad to find that it didn´t exist.
Possibly takes some considerable influence from La Gadda La Vida & Sunshine Of Your Love too.
Shout out to Garnet!!!!
Nice one.
is this a re-upload? I remember this video from years ago
The Zappa/Mothers show can be found on the Swiss Cheese/Fire bootleg (as part of one of the Beat the Boots box sets).
Thanks for doing this song justice. I think so many people think about the opening riff as iconic and forget that the rest of the song has so much amazing stuff going on too. Personally, I just don't think anything with a Hammond organ is ever going to be a letdown.
My understanding is that Lord is the one who came up with the outline of the main riff, in the middle of a jam session, and then Blackmore massaged it into its final form. If that's true, then Blackmore's claims of trying to do Beethoven backwards are even more silly.
My favorite song, that includes the iconic starting riff, is Shonen Knife's cover of Eat It by Weird Al for the Covered in Punk, Dr. Demento album. That may, or may not intentionally be quite the mouthful of a run on sentence 😅
I want this guy to break down “Golden Brown” by the Stranglers.
Gotta throw you some love on the silence motif! Dr. Who fandom rise up!! ✌️
5:45 - Came here to learn about Smoke on the Water, ended up rediscovering the Trigun theme.
Awesome
Ritchie actually played out on the 10 and 12 fret on the d and g string ...